Newsletter NOVEMBER/DECEMBER 2014, VOL. 26, NO. 7

Left to right are Ian (Happy) Grove, Jean-Sébastien Gauthier and Adrian Stimson and the com- pleted installation of The Spirit of Alliance. All three collaborated on the installation. Bronze figures are Chief Wabasha IV and Col. Robert Dickson, far right with back to camera. On the ex- treme left are Dickson’s wife Ista Totowin and their daughter Helen Dickson. Story pages 3 to 7. (Photo by Ashleigh Mattern)

CARFAC NATIONAL (1968-2014) CELEBRATES 46 YEARS AND CARFAC SASK (1983-2014) CELEBRATES 31 YEARS OF SERVING ARTISTS 2 CARFAC SASK NEWSLETTER

CARFAC SASK Newsletter The CARFAC SASK Newsletter is ContentsVol. 26 No. 7 November/December 2014 published six times a year: January/February 2015: Spirit of Alliance Upcoming issue An anti-war memorial links past, present and future, 3-7 Deadline for copy is Dec. 20 at the Cadmium pigment concerns very latest. Concerns about the toxicity of cadmium pigments has repercussions for March/April 2015: artists, 8-9 Deadline for copy is February 20

Approaching a gallery May/June 2015: Advice on finding the gallery that is right for you,9-11 Deadline for copy is April 20 More Picassos for the Remai July/August 2015: Frederick Mulder donated 23 ceramic works by Picasso to the Remai Deadline for copy is June 20 Modern, 12 Mendel celebrates Several events help the Mendel and its audience celebrate 50 years, Jim Graham: Newsletter Editor 13-14 E-mail: [email protected] © CARFAC Saskatchewan 2014 Thelma Pepper receives award Individual authors also hold copyright to Pepper receives Lieutenant Governor’s Lifetime Achievement Award, 15 their work. Written permission is required to reprint. Jack Cowin, 1947-2014 Cowin will be remembered for his drawings, paintings and prints of fish CARFAC Saskatchewan Newsletter, #203, 416-21st Street East, and birds, 16 Saskatoon S7K 0C2 Culture Days Due to time and space restrictions all sub- CARFAC SASK helps Saskatchewan celebrate Culture Days, September missions cannot be thoroughly checked or 2014, 17 all information printed, so use contact listed. Material published in the CARFAC SASK Newsletter reflects the view of the author and not necessarily the view of CARFAC Saskatchewan. News in brief, 16 Artist to Artist, 19 Members’ News, 19 CARFAC CARFAC SASK Board Events, 19 SASKATCHEWAN Exhibitions, 19-21 Pierre Lheritier, Regina - President Calls for Entry, 21-22 BULLETIN BOARD Jessica Riess, Regina - Past President Twyla Exner, Prince Albert - Vice President Workshops, 22 Amy Banford, Regina - Treasurer Residencies, 22-24 Anna Hergert, Buffalo Pound Opportunities, 24-25 Workshops, Katherine Boyer, Regina Grants + C. Alejandro Romero, Saskatoon Symposium and Leesa Streifler, Regina Foundations, 25-27 Jason Grayston, Regina Membership, 27 AGM, page 18 Paul Constable, Saskatoon

CARFAC Saskatchewan is funded through Saskatchewan Lotteries Trust Fund for Sport, Culture and Recreation, SaskCulture and the Saskatchewan Arts Board. NOVEMBER/DECEMBER 2014 3

Prince Edward shakes hands with Whitecap Chief Darcy Bear while Mayor Donald Atchison, foreground, cen- tre, looks on at the unveiling of the sculpture related to the War of 1812. (Photo by Ashleigh Mattern)

Spirit of (Anti-)war memorial links Alliance: past, present and future

nobody is armed. There’s a balance between women By Ashleigh Mattern and men, and both European and Aboriginal people The new sculpture at River Landing in Saskatoon are represented, with the child representing the mix stands tall against the sky, in sight of a sweeping of both cultures. view of the South Saskatchewan. The Spirit of Alli- “It has an imbedded reflection of so much that is ance’s 30-foot bronze teepee surrounds a scene of current today,” said Ian (Happy) Grove, who worked peace: Chief Wabasha IV and Col. Robert Dickson on the piece with his husband Adrian Stimson and exchange wampums, treaties, blankets, the British Fransaskois artist, Jean-Sébastien Gauthier. flag and three King George medals while Dickson’s wife Ista Totowin and their daughter Helen Dickson “It’s a monument honoring all First Nations inhabit- look on. ing the continent prior to the development of Can- ada and the U.S.,” said Gauthier. “I think that’s so Commemorating the First Nations’ contribution to important for the meaning of the piece. To honor all the War of 1812, it’s technically a war memorial, but 4 CARFAC SASK NEWSLETTER

First Nations and all nations, but to understand the the piece and gifted it to the City of Saskatoon. common histories.” “Within the sculpture itself there are many layers of Everything included in the sculpture has signifi- historical reference,” said Stimson. cance: When the Dakota crossed the border into Twelve knee-high boulders fit between the didactic Canada, they wore King George medals as an in- panels, creating spaces to sit, stand on, or climb. dication of their relationship to the alliance with Brit- Making the sculpture interactive was a purposeful ain. The didactic panels surrounding the sculpture decision. The medicine line is not directly explained, are mounted on displays featuring the colours of the so that visitors can decipher it themselves. medicine wheel: White for north, yellow for east, red for south, and blue for west. A 40-foot long steel “If art is static and untouchable and unapproach- medicine line representing the 49th parallel lays able, you can only get so much out of it, but when along the ground, telling the entire history of the it’s interactive and there’s something you can do Whitecap Dakota First Nation, which commissioned with it or get out of it or get from it, or you can touch it or climb it, whatever, that makes it, in my mind, very successful art,” said Grove. “Interactivity is a huge component.” The monument’s unveiling on Septem- ber 19, 2014 was especially exciting because Prince Edward was invited to participate in the ceremonies, along with Whitecap Chief Darcy Bear and other members of the First Nation. Gauthier noted the importance of hav- ing both the Prince and Whitecap mem- bers present, as the sculpture depicts an agreement between the Crown and First Nations people. “It’s like having the people who made the deal standing at the table 200 years later in living symbols,” said Gauthier.

Immersive research The project first started to come to- gether during the fall of 2013 when Whitecap Dakota First Nation made the call out for artists. Stimson, Grove and Gauthier decided to collaborate on the project, and won the bid. The first step was to research the War of 1812 in relation to the Whitecap Da- kota, and the history of the First Nation itself. Even though this project fell into Stimson’s set of interests — his previ- ous work has touched on topics such as treaties — there was a lot to learn. “It was a really steep learning curve,” said Stimson. “For myself as a First Na- tions person, I know and I’m aware of a lot of the histories, yet the nuances Foam models of Robert Dickson’s wife Ista Totowin and their and the specifics in relation to the War daughter Helen Dickson that are part of the bronze casting pro- cess. (Photo by Jean-Sébastien Gauthier) of 1812 was something that was really NOVEMBER/DECEMBER 2014 5

Sculpture and teepee poles loaded on trailer nearing Pendleton Oregon. (Photo Jean-Sébastien Gauthier) interesting to research.” The artists researched online, and contacted universities, the national archives, the Canadian War Museum, the Canadian Museum of Civilization, and even the Smithsonian and the Library of Congress in Washington. Stimson said he also read novels, both fiction and non-fiction. “I was immersed in the war of 1812 lore,” he said. As part of the consultation process of designing the sculpture, the art- ists met with Chief Darcy Bear, and Whitecap council, elders, cultural keepers, and students. Speaking with Whitecap members informed them of the history, and also helped them design the clothing for figures: The moccasin designs on Wabasha, Totowin, and Helen are traditional Whitecap designs, and used with permission. “Of course, we didn’t want to ap- propriate that, so we talked to the cultural people, and they shared Sculpting life-size heads for the sculpture on riverbank. (Photo by Jean-Sébastien Gauthier) 6 CARFAC SASK NEWSLETTER

Part of the sculpture installed in Saskatoon near the Farmer’s Market in Saskatoon. (Photo by Ashleigh Mat- tern) with us designs we could use,” said Stimson. “[The and there are no historical references whatsoever designs] reflect that time in history, that type of to Totowin or her children, not even written descrip- beadwork that Dakota made.” tions. The monument is about the past, but it is very much For Dickson and Wabasha, they had men of that rooted in the present, and Stimson says it’s also age to model to help fill in the gaps, including Chief connected to the future. Wabasha’s great-great-great-grandson, Leonard “While we interpreted the story and created the Wabasha — the last living relative of the chief. For work, it now will go into the future and a whole Totowin and Helen, the artists invited a mother and bunch of new stories will start coming forward, like a her young daughter from the Whitecap Dakota First giant circle,” he said. “It’s creating its own narrative Nation to model for them. now, its own relationship to the people of Saska- “These are contemporary people, but historical, toon.” like they’re plays, or it’s almost maybe like they’re performance artists!” said Stimson, laughing at the similarity to his own work as a performance artist. Living history “To animate them and create these stories also cre- While the scene depicted in the monument may ates something else; it’s another part of it.” have never really happened, the people represented It was through discussions with the Whitecap Da- actually existed. But creating accurate representa- kota that they learned about the people who would tions of these historical figures was a challenge. become the central characters in the sculpture. There were only two images of Col. Robert Dick- Wabasha was a Dakota man, and an ally to the Brit- son, one when he was young, and one when he was ish. His alliance and dedication won him the rank of quite old; there were only paintings of Wabasha; captain with the British military. Dickson was a fur NOVEMBER/DECEMBER 2014 7 trader who married Totowin, the sister of Dakota While they had cutting edge technology available Chief Red Thunder. Dickson and Totowin had four to use, like the 3-D scanner, the process was still children, one of whom is depicted in the sculpture very hands on. The faces, hands and clothing are at an age of about three years old: Helen Dickson. intricately detailed, but no molds were used; they Through the War of 1812, Dickson became a colo- sculpted all the figures, even though they could nel, and he and Wabasha worked together to raise a have potentially scanned human bodies and dressed force against the American invasion. them. The War of 1812 was one of the first events in Cana- “It’s a combination of traditional and contemporary dian history that shaped the country’s identity. With technologies,” said Gauthier. promises from the British to protect the traditional Despite the already tight deadlines, in July 2014, home lands of the Dakota and other groups, First they were notified that Prince Edward would be Nations people supported the war as a way to halt unveiling the sculpture, and were asked to speed up American expansion into their lands. The majority the installation process. of the fighting during the War of 1812 was done by British foot soldiers, Canadian militia and First Na- In August, they picked up the completed sculpture tions warriors. But when peace came in the form of and brought it back to Canada, then spent more the Treaty of Ghent in 1814, the contributions of the than three weeks on site assembling it, including First Nations were forgotten, and the promises to having an engineer certify the monument was a safe protect their land were not kept. structure. Stimson says that as he’s been working with various “The time we worked here and the time we worked people on the piece, he’s found that many people in Portland, I think we outperformed ourselves,” don’t know the history of the War of 1812, the said Gauthier. “And we got to use all these interest- stories of Chief Wabasha and Col. Dickson, or the ing new technologies that are informing my practice history of Whitecap Dakota First Nation. now . . . Twenty-first century art-making has a lot of possibilities that weren’t available without huge “Suddenly, it creates this space and opens up this amounts of labour in the past.” space of knowledge,” said Stimson. “I think it’s a beautiful catalyst for that and also has brought He also appreciated being able to spend a concen- people together.” trated amount of time in the studio, saying there’s much to learn from experiencing that high amount of creative intensity. Building a monument But overall, Gauthier said the best part about the The team was awarded the contract in December project was working collaboratively. “That was one 2013. After some intense research and consulta- of the most interesting challenges, and one of the tion, they built several maquettes for the selecting most interesting rewards,” he said. “There’s a value committee to choose from, with the final piece look- to that, in working with three minds on all the de- ing much like the original maquette the committee tails.” chose. “We all worked together on every aspect of the “We had a very tight deadline,” said Stimson. “Most sculpture, so not one of us can lay claim that we did sculptures like this take, I would say, a couple years it ourselves,” said Stimson. to get happening, because you have to book times After a whirlwind year of creating the sculpture, and at foundries and such.” the once-in-a-lifetime chance to meet Prince Ed- They ended up choosing a foundry in Portland, Ore., ward, the artists can finally sit back and enjoy the because their choice in Canada couldn’t meet their overwhelmingly positive reaction to the new Saska- timeline. toon landmark. Already, the monument has become a place to meet and gather: a drumming circle was Creating the final sculpture was an intense process: hosted there recently and Stimson said he heard First, they sculpted half-scale models, then sent someone say, “Let’s meet at the teepee!” them to Portland where they were 3-D scanned and blown up to slightly larger than human scale. A mill- ing machine then milled parts into a type of styro- foam that were then glued back together into the sculpture itself, then covered in layers of plasticine clay. At that point, the team had to re-sculpt them before they were sent to the foundry to be bronzed. 8 CARFAC SASK NEWSLETTER

Left and right: The culprits of the paint world — cadmium red, orange and yellow — are thought to be entering the food chain. (CARFAC SASK photos)

Cadmium Red, Orange and Yellow 1820 to 2016?

It may be too soon to write the obituaries for cad- until the 1920s. mium red, orange and yellow, but the artists’ colours may disappear in the attempt to eliminate cadmium Artists pouring cadmium paints down the drain are from the environment. Cadmium pigments are found not the only source of the toxic material. Nickel- in acrylic, oil and watercolour paints. cadmium batteries were used extensively for many years. They lost share to lithium-ion batteries and According to artnetnews the pigment is carcinogenic since 2006 their sale in the EU has been restricted and causes skeletal fracture. to specialised devices and disposal was heavily regu- lated. Nickel-cadmium batteries contain dangerous, The concern started when Sweden submitted a highly-concentrated levels of the toxic heavy-metal. restriction report to the European Chemical Agency (ECHA) in 2013. The report claims that cadmium, There are alternatives to cadmium pigments, which a heavy metal, is found in sewage sludge which is match the excellent qualities of the paint. being spread over agricultural land and applied to farmers’ fields. Cadmium enters the food chain when According to the Golden Artist Colors Web site, artists wash their brushes in the sink. Based on the the introduction of the pyrrole family of pigments report from Sweden, the European Union launched in 1988 offered a replacement for the orange to an investigation to whether the substance should be medium red range, while companies are using the banned. chemistry to extend the range into the darker reds. Currently Golden makes Pyrrole Orange, Pyrrole Red The European Chemical Agency will make a decision Light and Pyrrole Red. According to their Web site in December 2015 and if the restriction goes ahead “They are strong tinting, high chroma colours with it could mean the end of using cadmium pigments excellent lightfastness.” in artists’ paints. Losing the paints in the cadmium family concerns many artists because the pigment Finding an alternative to the cadmium yellows is creates bright, intense reds, oranges and yellows. somewhat more difficult because the colour requires They were considered light fast in interior use but the toxic heavy metals bismuth and vanadium. Gold- they faded with exposure outdoors, one of the pig- en uses a pigment from the arylide family which is ments’ few drawbacks. sold as Hansa Yellow Opaque. Because it is lightfast in an outdoor environment it is superior to cadmium The pigments were discovered around 1820 and yellow. The arylide yellows contain no metals. commercialized for artists’ use in the mid-1980s. Claude Monet used them extensively in the 1840s Golden goes on: “Although these properties of these and 50s and, although they offered a new colour new organic pigments are in many ways similar to intensity, the scarcity of the metal limited their use cadmium colours, they are not identical in every NOVEMBER/DECEMBER 2014 9 Approaching a gallery There are many factors involved in choosing a gallery and choosing the right gallery

By Laureen Marchand This is one in series of articles about practical advice for artists and their exhibiting careers. For previous articles, see Pricing Your Artwork (March/April, 2014, Vol 26, No. 2), Why Exhibit Your Artwork? (July/August, 2014, Vol. 26, No. 5) and Why All Exhibitions are Not Created Equal (September/ October, 2014, Vol. 26, No. 6) You’re an artist. This means you may want to exhibit your artwork in a gallery setting. Maybe you want to sell it there. You’d like to know the best way to go about making that happen. I’m an artist. I’ve been making and exhibiting my work for over 25 years. From 2009 to 2014 I was also a commercial art gallery owner. The visitors who came to my Grasslands Gallery were visitors respect. The biggest variation is how the colours mix to Grasslands National Park and they weren’t usu- to create new colours. Organics typically produce ally art collectors. Usually they were people who had cleaner, less muddy mixtures.” been happy in this region, for a few days or longer, and they wanted something to help them remem- However, it is too early to place the headstone at the ber that feeling. If you were an artist who met that grave site of the cadmium family. Artists are used to need, one way you could reach these people was by the idiosyncrasies of a particular colour because they exhibiting with me. It certainly wasn’t the only way. have used it in many different ways, and a new pig- But if you chose this way — the way of showing with ment, regardless how close it is to a toxic pigment, a commercial gallery in any specific setting — you is never the same. It happens at Home Depot when might increase your own audience and market. a customer wants to return cans of paint, that don’t exactly match. Or perhaps the way for you is exhibiting for other purposes than sales. You might want to communi- cate or receive feedback or reinforcement, contrib- ute to a community, receive financial return without For more information: selling, or satisfy professional ambition. Your way Saskatchewan Visual Arts Handbook, might be the way of the public art gallery or artists’ http://www.goldenpaints.com/justpaint/ centre. Not every artist’s work is suited to exhibition http://online,wsj.com in these venues. But if yours is and you choose this http://news.artnet.com/ way, you might increase both audience and reputa- www.theartnewspaper.com tion. 10 CARFAC SASK NEWSLETTER

And wouldn’t it be nice if increasing your audi- the staff want to see your work in person? Do they ence could be satisfactory and rewarding instead of prefer e-mailed images? Do they want you to drop stressful and scary? The good news is that it can. off a disc? Do they prefer to do a studio visit? Approaching a Gallery Whatever the gallery’s chosen format is, make sure that what you submit shows off you and your art If you’re looking for a gallery to show and/or sell brilliantly. Show only your best work. Sometimes the your artwork, be sure you’re looking in the right gallery will see something in an awkward piece that places. Here are some things to consider. you didn’t, but you can save these for later when Does the gallery you’re thinking about exhibit art- the relationship has become one of understanding work like yours? If a gallery shows work in a par- and trust. ticular style or medium, that’s usually its mandate. Submit artwork that shows the unique and irreplace- Check it out. Look at the gallery’s Web site. Visit the able you. Trying to make work that isn’t you because gallery if you can and talk to the staff there. Talk to it might be acceptable to someone else is unsus- other artists. Then try to take in what you find out. tainable in the long run. But it’s wonderful to find a Not every gallery you’re attracted to will be right for place where you and your art are at home. And you you. Artists have many reasons for exhibiting and may be the person that makes the right gallery very sometimes our reasons are in conflict with the needs happy. of the venue we approach. The gallery staff know their audience or market; they’re giving you good Show you can develop a theme until it sings. If you information. For example, in Grasslands Gallery I demonstrate that you have a real understanding had the experience of telling artists that my gallery of the way you have chosen to work, you will gain showed only artwork that in some way reflected the much more respect and attention than if you ex- Grasslands experience, then having the artists sub- press more superficial knowledge of several themes mit boreal forest landscape paintings or graduation and forms. portrait photos. This approach didn’t work for either How many pieces? Brand new work or some older the artists or me. pieces too? Medium, size, framing, price range? It Does the gallery exhibit artwork by artists at your will vary with the gallery. Ask them. Do you need to stage of development? If you’re new at your craft include anything other than artwork, such as a c.v. and still working out what forms you are most in- or invitations from previous shows? Once again, the terested in, and the gallery you have your heart set best way to find out is to ask. If you had asked me on shows senior artists with a pre-existing following, what Grasslands Gallery prefers, I would have told save that gallery for later in your career and look for you that the medium you used mattered very much one that really wants to develop new artists. to me, that I could only show smaller scale works, that wall works must arrive at the gallery framed, Is the gallery accepting submissions? Galleries go and that artworks in the lower price ranges would through different stages just like artists. Sometimes sell most quickly. Other galleries will have very dif- they can take on new people and sometimes they ferent needs. Always, always ask. can’t. Some commercial galleries and many pub- lic galleries and artists’ centres have submission If the gallery prefers you to submit photographs of information or regular deadlines posted on their Web your artwork instead of the originals, make sure sites. In commercial galleries you can ask, “Do you these are the best possible. Be fair to your art. No look at the work of new artists?” For public galler- shaky shots taken in bad lighting that you need to ies, you can call or e-mail the curator. But always explain. No inaccurate color. No editing to make the remember the rules of contact in any social or busi- art look better than it does in real life. If you aren’t ness setting. Be friendly, be polite, don’t push. a photographer, hire or find someone who is. Do you like this gallery and its staff? If you’re luke- Submitting Artwork to a Commercial Gallery warm or unsure, try somewhere else. You have lots If you’re submitting artwork to a gallery whose of choices. primary purpose is selling, you should offer pieces Does the gallery have a good reputation with other that are for sale now. There isn’t any point in get- artists? To find out, ask the other artists. Remem- ting the gallery excited about work they can’t exhibit ber though that personality affects relationship. It’s because it belongs to someone else. As far as previ- a good idea to filter what you hear through your ous exhibitions go, not every commercial gallery will knowledge of your own personality and expecta- want to show art that wasn’t saleable somewhere tions. else. Ask! Submitting Artwork to a Gallery: What kind of prices will you charge? You should General Comments have some idea, because a gallery in the business of selling artwork has clients who are used to buying Once you’ve established that a gallery is interested in a particular price range. And you should let the in seeing your work, there are a number of ways gallery know up front. Most commercial dealers will you can follow up. Ask what the gallery prefers. Do NOVEMBER/DECEMBER 2014 11 be pleased to discuss prices with you, and you may Does the gallery offer discounts, and under what be pleasantly surprised that their ideas about what’s circumstances? How often will you be paid? Does the appropriate might be higher than yours. But don’t gallery want exclusive rights to sales? In how big make them guess. an area? For how long a term? Does any exclusiv- ity agreement apply to artwork for sale by you from Submitting Artwork to a Public Gallery your own studio or on your own Web site? or Artists’ Centre • Will the gallery provide a contract outlining the an- Some curators will meet with artists to discuss swers to these questions? Note that under the Sas- work and exhibition possibilities. Some will look at katchewan Arts Professions Act, in effect since 2010, visual support material and consider a studio visit. written contracts are required between artists and Before you go further, contact the gallery and find anyone wanting to engage, contract, hire or enlist out whether the curator or owner prefers appoint- their services. Contracts don’t need to be in difficult ments, will visit studios, has submission deadlines, legal language; they can be in ordinary English and only receives portfolios in the mail or by e-mail, or is may take any written form. viewing artists’ work at all. Persistence and Rejection Most artists’ centres have regular submission dead- lines, specific submission requirements, and selec- All artists experience rejection. Competition for gal- tion meetings during the year. Artists’ centres vary leries and exhibition spaces is strong, and your first in what they can provide in the way of support. Con- try may not be your first successful one. High-qual- tact the artists’ centre for submission requirements, ity artwork may not find its right place immediately, and ask for a floor plan and about availability of any and this may have more to do with circumstance equipment you need. than with the art. If your artwork is rejected, send it out again to a different venue. For all submissions to public galleries and artists centres, be clear about what you want. Are you However, if you find that your exhibition submissions looking for a solo exhibition or do you have a two- are rejected repeatedly, it may be time for some person or group exhibition project in mind? What is reassessment. The following questions may help. the theme you’re developing? Why should the gal- • Are you realistic about what you are looking for? lery give this precious time and space to you instead • Are you approaching galleries that are right for of to someone else? If you don’t know, how can you your work? expect anyone else to? • Are images you’re submitting to a gallery the best Approaching the Business Relationship quality possible? • Is any written work you’re providing clear, concise The relationship you have with a gallery is like any and understandable? other relationship. It takes work to make it grow. If • Can the galleries or another artistic professional you’re going to show with a gallery, there are a few give you some feedback? easy steps you can take to make the relationship successful so you can get as much reward from it as Remember that rejection can be hard to accept, but possible. it is hardly ever meant personally. Some amazing artwork has met with repeated rejection and still Discuss everything. Assume nothing. Clarify. Ask become successful — in the artist’s lifetime. questions. This doesn’t need to be done in an ag- gressive way; it’s just like finding out if a new friend Laureen Marchand is an artist who lives in Val Ma- prefers to go Dutch or wants to take turns picking rie, Saskatchewan. Her most recent solo exhibition up the tab – maybe a bit nervous-making, but defi- was Beholder, in April/May 2014 at the Art Gallery nitely easier to get right initially than fix later. of Regina. Laureen can be found at www.laureen- marchand.com, where she also writes a regular blog If you don’t know what to ask, here are some ideas. called How to be an Artist: It isn’t an instruction…it’s Not all of them will fit your particular circumstances. a question. Just pick those that do. • When will the work be shown? Who chooses the work to be shown? Who decides how and where it is to be hung? • Who is responsible for costs associated with fram- ing, shipping, or photography? How will the gallery promote you and your art? Who is responsible for costs or promotion? Are you expected/allowed to promote yourself also? • If the work is for sale, who determines selling price? What is the gallery’s commission on sales? 12 CARFAC SASK NEWSLETTER More Picassos for the Remai Modern

Frederick Mulder, who grew up in Eston, Saskatchewan and went to the University of Saskatchewan, wanted to make a contribution to his home province. He donated 23 ceramic works by Pablo Picasso to the Remai Modern Art Gallery. Mulder said the $500,000 collection is closely related in theme to the linocut collec- tion donated to the gallery in 2012 by the Frank and Ellen Pablo Picasso, Remai Foundation. Déjeuner sur l’Herbe 1964, ceramic plaque 51.1 x 61.3 cm In discussing the donation © Picasso Estate / SODRAC (2014) with The StarPhoenix, he said, “For me, it’s really a privilege to be able to do something for the province tion of Saskatchewan art ceramics. I loved growing where I grew up and a city that means a lot to me.” up in Saskatchewan, and I count myself lucky to be able to give something back to the city and the Mulder, who lives in London, was in Saskatoon Sep- province that gave so much to me.” tember 17 for the announcement of the donation. The ceramics will be exhib- Executive Director and CEO ited in a gallery dedicated to Gregory Burke said, “The gift Picasso and works of inter- builds on our holdings of one national modernity at Remai of the most influential artists Modern, Burke said. The of the 20th century and will new gallery, under construc- enhance our ability to inter- tion at Saskatoon’s River pret and present significant Landing, is scheduled to aspects of Picasso’s artistic open in 2016. practice. The gift is broad in range, while several ceramics Mulder, the man who made are thematically connected to the donation, is director the linocuts. Altogether, they of Frederick Mulder Ltd., a make for a comprehensive col- firm dealing in European lection that will excite visitors, printmaking 1470-1970. He students and researchers when chairs the Frederick Mulder Remai Modern opens.” Foundation, which supports social change projects and Mulder said the ceramics “will the arts. He is also founder serve as a wonderful bridge of The Funding Network, a between the highly important Pablo Picasso, UK-based organization that Picasso linocut collection in the Vallauris 1956 (coloured), 1956 arranges live, crowd-fund- Remai Modern, and the tradi- ceramic plate 42.5 cm diameter ing events in aid of social © Picasso Estate / SODRAC (2014) change projects. NOVEMBER/DECEMBER 2014 13

Fred Mendel outside the gallery named after him. The conservatory is behind him, one of the more popular parts of the building. (Photo courtesy of the Mendel Art Gallery)

graphs of Brenda Pelky, Randy Burton, Art Balim and others who were involved in The Photographer’s Mendel Gallery. The exhibition runs from September 27, 2014 to January 4, 2015. The show is organized around six celebrates themes: Early Visions, Archaeology and Memory, A Home on the Prairies, Contested Sites, Modern Cos- mologies, The Multiple and Me. 50 years Two figures who influenced the direction of the Mendel, Bruce Ferguson, curator of a show of Eric In some ways the Mendel Art Gallery is looking back Fischl’s work, and Matthew Teitelbaum, former cura- and looking forward. It prepares to move to a new tor of the Mendel Art Gallery, gave talks about the site on River Landing and a new name — Remai Mendel. The Eric Fischl show was a major production Modern Art Gallery of Saskatchewan. It also looks for the gallery, and the painter’s reputation soared back at an extraordinary past. about the same time the gallery started organiz- ing the exhibition. Eric Fischl: Paintings opened at The gallery has organized a show that looks at the the Mendel Art Gallery in 1985 and traveled to the range of work collected by the Mendel. About 150 Stedelijk Van Abbemuseum, Eindhoven, Nether- works are exhibited in Modern Visions: the Mendel lands; Kunsthalle Basel, Basel, Switzerland; Institute Art Gallery 50th Anniversary Exhibition from about of Contemporary Arts, London, England; Art Gallery 7,000 works in the Permanent Collection. Some of of Ontario; Museum of Contemporary Art, Chicago; the work is not often seen, especially the photo- 14 CARFAC SASK NEWSLETTER

There was a large crowd at the Mendel Art Gallery 50th Anniversary Launch Party September 26 to listen to speeches and celebrate the anniversary. At the podium is Greg Thompson, Chair of the Mendel Foundation. The other speakers are (left to right): Laura Pritchard, Member of Mendel Youth Council; Robert Christie, on behalf of the art community; Dan Ring, Curator Emeritus, on behalf of past and current galley staff; Grego- ry Burke, Executive Director and CEO; Jeanne Walters, longtime volunteer. The remaining speakers not vis- ible: Karen Cranston, volunteer; George Charpentier, on behalf of the community; Mayor Donald Atchison. (Photo courtesy of the Mendel Art Gallery)

Whitney Museum of American Art in 1986. The show David Geary, in an article on the art gallery in the put the Mendel on the international map. Instead of Saskatoon History Review, said the Mendel Art Gal- being a passive venue for blockbusters, the Mendel lery and Civic Conservatory opened on October 16, was an active and intelligent producer of blockbust- 1964 and had 13,000 visitors on the opening week- ers. end. Geary described the building as “one of the fin- Fred Mendel, the gallery’s founder, was a success- est examples of lyrical prairie Modernist architecture ful local businessman who befriended local artists in Western Canada.” and encouraged them by purchasing their art and When the Mendel reached the 40-year-old mark commissioning work from them. As an art lover he in 2004 the administration and board decided to collected paintings by the Group of Seven as well as upgrade and expand the building and Kindrachuk the paintings of such European masters as Camille Agrey created detailed plans for the expansion. Pissarro, Marc Chagall, Max Ernst and Georges However, the plans were set aside and a new gal- Braque. lery, eventually called the Remai Modern Art Gallery Mendel also wanted to build a public art museum for of Saskatchewan came into being. Saskatoon, his way of thanking the citizens of Sas- Background material on the early history of the katoon for their support. His financial donation was Mendel is from “Mendel Art Gallery and Civic Conser- matched by the province and the City of Saskatoon vatory” by David Geary, Saskatoon History Review, donated the riverbank site. An open, national design Number 26, 2014. competition was won by the Winnipeg firm of Blank- stein, Coop, Gillmor and Hanna in 1962. NOVEMBER/DECEMBER 2014 15

Thelma Pepper receives Lieutenant Governor’s Lifetime

Achievement Thelma Pepper recently received the Lieutenant Governor’s Lifetime Award Achievement Award. (Photo by Gordon Pepper)

Thelma Pepper has been named recipient of the At the awards ceremony recipients for a variety of 2014 Lieutenant Governor’s Arts Award — Lifetime other awards will be announced. Achievement. The announcement was made Sep- Short-listed nominees for the 2014 Saskatchewan tember 30 in Saskatoon by the Saskatchewan Arts Artist Award: Board. The Lieutenant Governor’s Arts Award cer- • Tammi Campbell, Saskatoon emony took place in Saskatoon on Tuesday, October • Sylvia Legris, Saskatoon 28. • Alison Norlen, Saskatoon

Thelma underwent open-heart surgery this past Short-listed nominees for the 2014 Emerging Artist March and fought off a bout of pneumonia in June. Award: But at 94 years old she is doing very well and has • Johanna Bundon, Regina made a complete recovery, according to family • Shawn Jobin, Saskatoon members. • Zachari Logan, Saskatoon Thelma has achieved regional, national and inter- national recognition for her skill in documenting the Short-listed nominees for the 2014 Leadership ‑– impact of locations and economic realities on indi- Individual Award: vidual lives. Her unique quality of building a sense of • Angus Ferguson, Meacham trust with her subjects, attained by listening to their • Tracy Hamon, Regina personal stories and life challenges, significantly • Jodi Sadowsky, Regina contributes to her photographic process. The result- • Anastasia Winterhalt, Saskatoon ing work’s poignancy reveals the inner, emotional and spiritual truths of her subjects. According to the Saskatchewan Arts Board Web site, the Lifetime Achievement Award recognizes and Thelma’s work has received many Canada Council celebrates an individual, group or collective engaged for the Arts and Saskatchewan Arts Board grants, in the arts in Saskatchewan who: “is recognized as and is part of a number of significant collections an established professional in their field who has including the Saskatchewan Arts Board. reached an advanced level of accomplishment; has produced a substantive, cumulative and prominent At the age of 90, Thelma launched the book Human body of work or has a history of continued contri- Touch: Portraits of Strength, Courage and Dignity, bution to the arts over a number of years, and has which was short-listed for book of the year at the had a particularly significant impact on the arts in 2011 Saskatchewan Book Awards. Saskatchewan.” 16 CARFAC SASK NEWSLETTER

Jack Cowin

1947-2014 Jack Cowin and his dog Otis. (Photo courtesy of Slate Fine Art Gallery)

Jack Cowin was born in 1947 in Indianapolis, Indi- Since the late 1960s, Cowin’s work has been exhib- ana. He studied printmaking there at Indiana Uni- ited in solo and group exhibitions across Canada and versity, receiving his Bachelor of Fine Arts in 1969. in the United States as well as in Europe and Asia. He went on to the University of Illinois, where he His work is represented in the collections of the Na- completed his Master of Fine Arts in 1971. tional Gallery of Canada, Canada Council Art Bank, Art Gallery of Toronto, Oakland Museum, MacKenzie It was in 1971 that he came to Regina to teach print Art Gallery, Indianapolis Museum of Modern Art, making at the University of Saskatchewan, and Chicago Art Institute, Hokaido Museum (Japan), continued to teach there in various capacities when Moose Jaw Art Museum, Indiana Arts Council, City the institution became the University of Regina in of Regina, Mendel Art Gallery and the Saskatchewan 1974. Cowin also led several workshops in drawing Arts Board, among numerous others. and watercolours at Red Deer College. Cowin’s work is the subject of the 1984 book Coun- Cowin is known for his work in drawing, painting, try Pleasures: The Angling Art of Jack Cowin, by and printmaking. Fish and birds were frequent sub- Andrew Oko. jects, showing Cowin’s lifelong love of fly fishing and the outdoors. His works are detailed and demon- Jack Cowin lived much of his life in Regina, Sas- strate a commitment to precision. katchewan. He died in September 2014, in Arlington Heights, Illinois, USA.

Recent Google doodle features outstretched wings suspending it above two low- slung, four-footed creatures, one facing left, the Canadian Kenojuak Ashevak other right. On October 3 Google, the world’s most famous on- Google approached Dorset a couple of months ago line search engine, posted an image adapted from for permission to riff on Kenojuak for its daily doo- the work of the famous Inuit artist, Kenojuak Ashe- dle. The artwork is similar to work by the late Ashe- vak. vak, especially The Enchanted Owl. That 1960 work October 3 would be Kenojuak’s 87th was put on a Canadian six-cent stamp 10 years later birthday if she were alive. She died in NEWS to commemorate the centennial of the Northwest January 2013. in Territories. It became a symbol of art in the north. BRIEF (Information from The Globe and Mail and CTV The doodle, in various shades of News.) brown, depicts a forward-facing owl-like creature, its NOVEMBER/DECEMBER 2014 17 Culture Days Sept. 2014

The CARFAC Sask office in Regina participated in Culture Days with an exhibition of the work of men- tees in the 2013-2014 CARFAC Sask Mentorship Program. The exhibition was held at the Regina office and a small reception was held. Besides the activities at CARFAC gallerys in Regina’s downtown area had special art-based activi- ties related to Culture Days. Nine galleries were Senator Sid Buckwold (Idylwyld) Bridge, projected involved in the first annual Art Walk. The were the onto the underside of the most westerly pylon of the Assiniboia Gallery, Dunlop Art Gallery, Hague Gal- bridge itself. Ten short film and video works were lery, Mysteria Gallery, Nouveau Gallery, Slate Fine featured, including a trio of commissioned works Art Gallery, Sâkêwêwak Artist Collective, Tatanka by Brad Proudlove. Other filmmakers included: Neil Boutique & Gallery and Traditions Handcraft Gallery Bignell and Gabriel Constant, Chrystene Ells, Ry- were all part of this inaugural event. ley Konechny, Christopher McLeod, Caroline Mon- In Saskatoon there were several events, such as the net, Katie Mooney, Heidi Phillips, Julie Oh and the pairing of Culture Days and Nuit Blanche. Also in North End Art Centre youth, featuring music by Wab partnership with the City of Saskatoon, PAVED Arts Kinew, Lorenzo and Little Hawk. presented: I Am The Bridge, a Culture Days outdoor screening which took place on the west side of the

Above: Jennifer McRorie and local artists. Left: Part of the exhibition of mentees’ work. From left to right, Sandra Led- ingham, Barbara Conly and Charlotte Hauk.

(CARFAC SASK Photos) 18 CARFAC SASK NEWSLETTER

CARFAC SASK Symposium, AGM and Arts Awards 2014 CARFAC SASK AGM CARFAC SASK’s Biennial Symposium Saturday, November 15, 2014 “Linked In: at 3:30 p.m. at The Refinery Managing Your Electronic Presence” and 2014 Visual Artists Awards Arts and Spirit Centre, 609 Dufferin Avenue, Saskatoon Saturday, Nov. 15, 2014; 12:30 p.m. to 5:00 p.m., The Refinery, Saskatoon AGENDA 1. Call to Order, Agenda, and Introductions CARFAC Saskatchewan is hosting its bien- nial symposium in Saskatoon on Nov. 15 2. Minutes of previous AGM at The Refinery Arts and Spirit Centre. The 3. Business arising from the minutes symposium will include presentations on 4. Financial Report, Audited Statement, Social Media for Artists and Canada’s Anti- Appointment of Auditor Spam Legislation, the Annual General Meet- 5. Provincial Representatives Report ing and the CARFAC SASK Visual Artists Awards and reception. Look for the registra- 6. CARFAC National Report tion brochure in the CARFAC SASK News- 7. Executive Director Report letter or go to CARFAC SASK’s Web site 8. Activity Reports for more information at www.carfac.sk.ca. 9. Nominations and Election of Directors Registration deadline is Nov. 12. Come participate in discussion, exchange and in 10. Adjournment celebrating our province’s artists.

CARFAC Sask Fall 2014 Workshops

NEW — Social Media for Artists Writing Artist Statements

Saturday, Oct. 25, 1 to 4 p.m. Saturday, Oct. 25, 1 to 4 p.m. Art Gallery of Regina, Mann Art Gallery, 2420 Elphinstone Street, Regina 142 12 Street West, Prince Albert Saturday Nov. 15, 1 to 4 p.m. Signal Hill Arts Centre, Writing cohesive and personalized artist statements 424 10th Avenue South, Weyburn is an important skill for artists in order to maintain and advance their careers. Artists need to write Social media is complex and constantly changing. artists statements for grant applications, exhibition This workshop will describe the various social media proposals and for self-promotion materials. This platforms and demonstrate ways in which artists workshop discusses a general overview of gallery can use social media as a useful tool for marketing, and grant proposals, and strategies artists may use building connections, and engaging with customers, to write effective artist statements. galleries, arts organizations and the public. Instructor: Aidan Morgan Instructor: Judy McNaughton NOVEMBER/DECEMBER 2014 19

contributions of older adults and aims to dispel the stereotypes and myths about aging. Presented in Artist to Artist partnership with the Saskatoon Council on Aging, it Studio for rent on Ave. D. South in Saskatoon. A continues to Nov. 30 in the Mendel auditorium. 400 square foot studio has large window, cupboards A performance piece, David Garneau: Dear John; and sink in secure building. Close to AKA and PAVED Arts. Please contact Michèle at 306-612-1005. Louis David Riel, will take place Sunday, Nov. 16, 3 p.m. In Situ – Victoria Park. The performance by From Nov. 1 to 10, 2014 Westgate Books, located in Regina artist David Garneau coincides with the an- Cumberland Square, Saskatoon, offers selected art niversary of the day that Louis Riel was hanged in related books and manuals at 50 percent off 1885. Dressed as Riel, the artist will enact a perfor- (cash only). mative conversation with the bronze statue of John A. Macdonald in Victoria Park. This performance will be part of a dialogue about the import and legacy of Member’s News the charismatic Métis leader and Canada’s first Prime Minister, who charged Riel with high treason, effec- LENS, a new art exhibit in the Wanuskewin Small tively sentencing him to his death. David Garneau Gallery, featuring the work of Michèle Mackasey, and renowned Métis artist, writer and educator Dylan Joi Arcand and Angela Sterrit is now open. Cu- Miner will hold a post-performance conversation, rated by Felicia Gay. The exhibit runs from Oct. 1, held at RPL Film Theatre, immediately afterward. 2014 to Jan. 8, 2015. The Studio on 20th, formally the St George Studio, Rigmor Clarke’s Forest Raven Art Studio, Shell will be holding their Annual Open Studio on Sun- Lake is open to visitors Saturday and Sundays from day, Nov. 23, from 12 noon to 5 p.m. at 236A 20th St 10 a.m. to 4 p.m. and by appointment at other West, Saskatoon. times. For more information and directions: 306-427-4915 [email protected]

A major retrospective touring exhibition, organized by Exhibitions the Mendel Art Gallery in Saskatoon and the MacKen- zie Art Gallery in Regina, David Thauberger: Road Assiniboia Trips & Other Diversions, is accompanied by a Shurniak Art Gallery, Organic Arrangements – Fine 30-minute documentary film. Itinerary: Art Photography by Patricia Holdsworth, Sept. 3 MacKenzie Art Gallery, Regina, May 2 to Aug. 23, to Nov. 30, 2014. 2015. Biggar Glenbow Museum, Calgary, Fall 2015. Biggar Museum and Gallery, Biggar Museum and Gal- Confederation Centre Art Gallery, Charlottetown lery, AgriCulture, Jan. 1 to 23, 2015. March 6 to June 6, 2016.

The Moved by the Spirit exhibition features the Estevan work of 12 artists including CARFAC members Louise Estevan Art Gallery and Museum, 118 - 4th Street, Tessier, Cara Driscoll and Anna Hergert and will Estevan Art Gallery and Museum Annual Mem- travel to the Basilian Fathers Museum, Mundare, AB, bers’ Show, Oct. 30 to Dec. 19, 2014. Sept. 19 to Nov. 5 and the Allie Griffin Gallery, Wey- burn, Nov. 14 to Dec. 28. Hudson Bay Brooks Hall, Repetition: Works of the Ink Slab Monique Martin is exhibiting a collaborative piece Printmakers, Articulate Ink and Studio 4417, with Cathryn Miller called Book Power Redux - Nov. 1 to 23, 2014. Affluenza. It was shown at the University of Puget Tacoma, WA, Sept. 25 to Oct. 15, 2014. Humboldt More upcoming exhibitions can be found at: http:// moniqueart.com/upcomingexhib.html Humboldt Museum, Hi-Fibre Content: Amber Anderson, Joseph Anderson, Mindy Yan Miller, Megan Morman, FarLee Mowat, Lissa Robinson and Jill Waldron, Dec. 1 to 23, 2014. Events Surreal Saskatchewan: Monique Blom, Trea Jen- sen, Vlade Marasovic, Sharon Strand Sigfuson, There is a free public reception to open Age Alive: Jean E. Sonmor and Leesa Streifler, Jan. 1 to 23, Images of Positive Aging, Tuesday, Nov. 4, from 2015. 4 to 6 p.m. This exhibition of photographs highlights 20 CARFAC SASK NEWSLETTER

Lloydminster Caitlin Mullan: An Index of Saskatchewan Fauna and Other Curiosities, Oct. 18, 2014 to Jan. 15, Lloydminster Cultural and Science Centre, Heavy 2015, In Situ Central Library and Royal Saskatchewan Metal: B.A. Conly, Ken Dalgarno and Mark Vitar- Museum. is, Nov. 1 to 23, 2014. Dunlop Art Gallery, Sherwood Gallery, 6121 Rochdale Boulevard. Jasmine Reimer: the harder softer La Ronge side, Sept. 13 to Nov. 26. Mistasinik Place, Hi-Fibre Content: Amber Ander- MacKenzie Art Gallery, T.C. Douglas Building, 3475, son, Joseph Anderson, Mindy Yan Miller, Megan Albert Street, David Thauberger: Road Trips and Morman, FarLee Mowat, Lissa Robinson and Jill Other Diversions, May 2 to Aug. 23, 2015. Waldron, Nov. 1 to 23, 2014. Casting the Imagination, Sept. 6, 2014 to Feb. 8, Meacham 2015. Hand Wave Gallery, 409 3rd Avenue North, Michael Troy Coulterman: Digital Handshake, Sept. 6, Hosaluk: A Fine Balance — Turned Vessels, Oct. 2014 to Jan. 25, 2015. 2 to Nov. 13, 2014. Wilf Perreault: In the Alley, Sept. 24, 2014 to Jan. Melfort 4, 2015. Melfort and District Museum, Creatures From Sky Neutral Ground,1856 Scarth Street, Soft Turns — to Sea: Joseph Anderson and Lissa Robinson, Through the Window, Oct. 8 to Nov. 22, 2014. Nov. 1 to 23, 2014. Slate Fine Art Gallery, 2078 Halifax Street, Kyle Moose Jaw Herranen: Colour, Oct. 2 to Nov. 1, 2014. Moose Jaw Museum and Art Gallery, 461 Langdon Crescent, Mindy Yan Miller: Feed and Gabriela Regina Beach Garcia Luna: Pensive Space, Sept. 18, 2014 to Last Mountain Lake Cultural Centre, 133 Donovel Jan. 4, 2015. Cres, Fertile Ground: Hansen-Ross Pottery, Beth Hone, Marilyn Levine, Randy Woolsey, North Battleford Victor Cicansky, Jack Sures, Donavon Chester, The Chapel Gallery, 891 - 99th Street, She Sparkles; Charley Farrero, Mel Bolen, Wendy Parsons/ Rosemarie Stadnyk and Melanie Rudy, Oct. 2 to Zach Dietrich, Anita Rocamora, Rob Froese, and Nov. 16. Zane Wilcox, Dec. 1, 2014 to Jan. 23, 2015. Visual Tension – Recent Work by Dean G. Bauche, Nov. 1 to Dec. 24, 2014. Rosthern Lindsay Arnold: Garden Immaculate, Jan. 1 to 23, 2015. Station Arts Centre, 701 Railway Avenue, Fertile Zachari Logan — The Gloaming Part 1: Draw- Ground: Hansen-Ross Pottery, Beth Hone, Mari- ings, Pastels, and Ceramics, Jan. 10 to March 1, lyn Levine, Randy Woolsey, Victor Cicansky, 2015, Exhibition Reception Jan. 24, 5 to 10 p.m. Jack Sures, Donavon Chester, Charley Farrero, Mel Bolen, Wendy Parsons/Zach Dietrich, Anita Rocamora, Rob Froese, and Zane Wilcox, Nov. 1 Outlook to 23, 2014. Art Gallery of Outlook, Greetings from the Land Repetition: Works of the Ink Slab Printmak- of Living Skies: Sandra Knoss, Cathy Terepocki, ers, Articulate Ink and Studio 4417, Jan. 1 to 23, Tina Hudson and Donn Morton, Dec. 1 to 23, 2014. 2015. Saskatoon Regina Affinity Gallery, 813 Broadway Avenue,It’s A Shoe Art Gallery of Regina, Neil Balkwill Civic Arts Centre, In, functional and sculptural clay pieces by Sask 2420 Elphinstone Street, Adrian Stimson: The Im- Terra, Oct. 24 to Nov. 29, 2014. mortal Buffalo Boy, Oct. 8 to Nov. 20, 2014. Imaginary Architects, Dec. 5, 2014 to Jan. 10, 2015, Dunlop Art Gallery, Central Gallery, 2311 - 12th Av- enue, AKA Gallery, 424 20th Street West, Mary Miljohn Ruperto: Janus, Aug. 28 to Nov. 13, Cen- Longman|Warrior Woman: Stop the Silence, In- tral Mediatheque. stallation, ribbon campaign and publication, Nov. 8 to From What Remains: Jason de Haan, Kerri Reid Dec. 5, 2014. Opening Reception: Nov. 22, at 8 p.m. and Kara Uzelman, Sept. 19 to Nov. 13. Joi T. Arcand and Shelley Niro: Transformation, NOVEMBER/DECEMBER 2014 21

Nov. 8 to Dec. 5. Opening reception, Saturday, Nov. day, Nov. 15 at 2 p.m. at AKA/PAVED arts. 22, 2014. K.C. Adams and Terrance Houle: Testimony, Nov. 6 to Dec. 12, 2014 College Art Gallery 1 and 2, U of S Campus, Ursula Johnson: Mi’kwite’tmn (Do You Remember), SCYAP Gallery, 253 3rd Avenue South, MIX: U of S Sept. 26 to Dec. 12, 2014. Printmaking Department student show, Nov. 5 to Kenderdine Art Gallery, 51 Campus Drive, In Be- 14. Reception on Nov. 6. tween History: Vikky Alexander, Allyson Clay, Marcel Petit: Cambodia and Me, photography, Chris Cran, Paul Fournier, Angelo Grossmann, Nov. 17 to 28. Reception, Nov. 18, 7 to 9 p.m. Mary Longman, Jayce Salloum, Tony Scherman, Douglas Walker, Sept. 12 to Dec. 12, 2014. Shaunavon The Eye Gallery, 117 - 1132 College Drive, Por- Grand Coteau Heritage and Cultural Centre, Greet- traits of Nature: Photographs by Trevor Carl- ings from the Land of Living Skies: Sandra son, Sept. 14 to Oct. 30, 2014. Knoss, Cathy Terepocki, Tina Hudson and Donn Morton, Jan. 1 to 23, 2015. The Gallery/art placement, 228 - 3rd Avenue South, Gregory Hardy — Luminous Explorer, Oct. 18 to Tisdale Nov. 13, 2014. Tisdale Middle and Secondary School, Lindsay Ar- Thick&Thin: Robert Christie, Jonathan Forrest, nold: Garden Immaculate, Nov. 1 to 23, 2014. William Perehudoff, Nov. 15 to Dec. 10, 2014. Re- ception: Saturday, November 15, 2 to 4 p.m. Rebecca Perehudoff – On the road to Emma Watrous Lake, Dec. 11, 2014 to Jan. 8, 2015. Reception: Watrous Area Arts Council, Greetings from the Thursday, Dec. 11, 6 to 8 p.m. Land of Living Skies: Sandra Knoss, Cathy Tere- pocki, Tina Hudson and Donn Morton, Nov. 1 to 23, 2014. Gallery at the Frances Morrison Central Library, 311, 23rd St. East, Anne McElroy, “pulse,” from Oct. 29, Heavy Metal: B.A. Conly, Ken Dalgarno and Mark 2014 to Nov. 27, 2014. Vitaris, Jan. 1 to 23, 2015. Yorkton Handmade House, 710 Broadway Avenue, The Godfrey Dean Art Gallery, Second floor, 49 Smith Elemental Garden: Small Pieces by Saskatoon Street East, Violins: A Passion Revealed, Oct. 4 to Quilter Dorothy Boran, Sept. 29 To Nov. 29, 2014. Dec. 6, 2014. Surreal Saskatchewan: Monique Blom, Trea Jen- Mendel Art Gallery, 950 Spadina Crescent East, Mod- sen, Vlade Marasovic, Sharon Strand Sigfuson, ern Visions: the Mendel Art Gallery’s 50th Anni- Jean E. Sonmor and Leesa Streifler, Nov. 1 to Dec. versary Exhibition, Sept. 27, 2014 to Jan. 4, 2015. 23, 2014. There is a free public lecture Saturday, Nov. 1 at 1 Hi-Fibre Content: Amber Anderson, Joseph p.m. by Matthew Teitelbaum: Mendel Memories Anderson, Mindy Yan Miller, Megan Morman, and the Growth of a Collection. Teitelbaum is FarLee Mowat, Lissa Robinson and Jill Waldron, Director and CEO, Art Gallery of Ontario, and former Jan. 1 to 23, 2015. Curator, Mendel Art Gallery (1986-1989). In a talk/ tour relating to the exhibition, Modern Visions, he will share thoughts about how a collection creates a sense of community and place, and contributes to identity and connection. Battleground: War Rugs from Afghanistan, Jan. Calls for entry 17 to March 22, 2015. The Fifth World, Jan. 17 to March 22, 2015. The deadline is Nov. 3, 2014 for Proposals for a participatory public art exhibition Ready, Set… inspired by Canadian Sports, Candian Heritage. It Prairie Star Gallery, 1136 8th Street East, David is open to Canadian artists and design profession- Shkolny: Point of Departure and Chris Hodge: als to create participatory installations inspired by Empty Vessel, Nov. 1 to 30, 2014. Opening recep- Canadian sports under the theme Ready, Set…. tion 7 to 10 p.m. Sunday, Nov. 2. The concepts must include elements that the public can interact with and that will make them move. The PAVED Arts, 424 20 St West, Stolen Sisters, exhibition will run from Jan. 30 to Feb. 16, 2015. screening and talk by Tyrone Tootoosis, Satur- 22 CARFAC SASK NEWSLETTER

The Call for Proposals documents are available only The Moose Jaw Potter Club Inc. offers a variety on buyandsell.gc.ca, please click on the following of classes. Contact information: link for the documents: https://buyandsell.gc.ca/ www.moosejawpotterclub.com procurement-data/tender-notice/PW-14-00653549 [email protected]

Learn to paint and draw on a holiday in Gascony, France beginning with a four-night stay in Paris. Space is limited to 11 students so book early. Classes in plein air painting in acrylic and Workshops watercolour, using your sketchbook as a tool to The Mendel Art Gallery offers two workshops for creativity and how to paint like an impressionist, adults: June 15 to 27, 2015. There will be a pre-trip social for the painting/holi- Abstract Painting Workshop for Adults, Sunday, day Impressions of Paris and Gascony. This wine November 2 at 2 p.m. Learn the basics of abstract and cheese social is Nov. 7, 2014 at 7 p.m. RSVP by painting with artist Anne McElroy. All skill levels wel- Mon., Nov. 3 by calling Nikki Jacquin at 1-306-775- come. Materials provided. 0925. For full location details for the social and more Sculpture Workshop for Adults, Sunday, Nov. 9 information about the trip contact: at 2 p.m. Sculptor Les Potter leads Putting It To- Nikki Jacquin gether, making art from found objects. All skill levels Artist and Owner welcome. Materials provided. For more information on Nikki’s Portraits of Childhood both workshops call Carol at 306-975-8144 to regis- 1-877-335-7655 toll-free [email protected] ter. nikkisportraits.com University of Saskatchewan Certificate of Art In 1984 a group of dedicated artists formed and and Design (USCAD) offers classes in drawing, incorporated the Metchosin International Sum- painting, sculpture, mixed media, photography and mer School of the Arts (MISSA). The school has digital imagery from Sept. to June (fall, winter and developed a reputation for bringing in acclaimed spring terms). Classes are taught primarily at the practicing artists. Over 400 students from around Williams Building, 221 Cumberland Avenue North in North America and as far away as Israel, Brazil and Saskatoon. For information visit www.uscad.usask.ca Mexico have participated in 40 workshops offered by MISSA. The workshops cover a range of arts including photography, clay, drawing and painting. They also The Allen Sapp Gallery in North Battleford is offering offer a Mentored Studio Residency of 14 days in June. two workshops for artists. Modelling Paste Workshop: Residency artists will have time to work on their own Techniques in Acrylic Painting with Rosemarie and attend lectures, demos, critiques and discussions Stadnyk, Nov. 4 and 5. Students will be led through as a group and one-on-one with the resident artist. techniques of applying modelling paste, wash, acrylic For more information and a bursary application go to paint, and developing layers onto canvas. The work- www.missa.ca. 2015 Bursary application deadline shop runs from 6:30 p.m. to 9:30 p.m. each day at is April 30, 2015. For more information, contact: The Allen Sapp Gallery. $100 plus GST - extra Art Deanna Cuthbert, Registrar supplies will be available to purchase from the artist 650 Pearson College Drive at $10. To register or for more information: Victoria, BC V9C 4H7 306-445-1760 or Toll free in Canada: 1-800-667-3122 or [email protected] Phone: 250-391-2420; Fax: 250-391-2412 Designing and Planning Your Encaustic Object: [email protected] Workshop with Dean Bauche, Nov. 15 and 29. On the first day participants go through the process of digital design and composition. At the end of the day, one of the digital designs will be selected and printed onto composite aluminum in preparation for the second Residencies day of the workshop where the participants will turn the aluminum with the digital image into an encaustic The Arts and Culture Centre (ACC) will be implement- object. $175 plus GST. To register or for more infor- ing an Artist in Residence (AIR) program across mation: its six centres in Newfoundland and Labrador. 306-445-1760 or The AIR program tries to provide successful appli- [email protected] cants an opportunity to use our resources in their cre- Upcoming Workshops ative efforts, while making connections to the com- January 2015: Drawing with Pastels with Zachari munity that will enhance the experience of residents Logan and Rug Hooking with Karlie King with their local ACC. There are two criteria to be met: • The artist must provide a presentation at the end of NOVEMBER/DECEMBER 2014 23

their residency 2015. The Labrador Institute will provide accommo- • The artist in residence must provide a plan for com- dation and working space at the Labrador Institute munity engagement while in residence. Research Station in North West River. Participants Residency periods must fall between Sept. 1 to Dec. are responsible for all travel and personal expenses 31 and Feb. 1 to May 31. including food and materials. Applicants must provide: Their creative plans for In your application please include the following: residency, plans for community outreach, budget, c.v. Samples of your work, such as jpeg images, project and references, equipment requirements, require- description and program of work, dates of ideal time ments for accommodation and travel and outreach of visit and second choice, c.v. and contract informa- requirements. tion Applications for Residency will be reviewed by the Please send applications to: Manager of Programming and the Regional Centre Grenfell Campus Art Gallery/Memorial University of Manager and decisions to accept and decline resi- Newfoundland dency applications will be at the sole discretion of 20 University Drive the ACC. For more information about deadlines or Corner Brook, NL A2H 5G4 to apply for residency forward information by e-mail to Aiden Flynn, Manager of Programming: aflynn@ The 2 Rooms Artist Residency is a non-profit artist artsandculturecentre.com. residency designed to assist artists, writers and the community of Duntara on the east coast of New- The deadline date for applications to the Brucebo foundland. To learn more and help support 2 Rooms Summer Scholarship is Jan. 31, 2015. The Schol- Artist Residency, follow the link: arship is offered annually to talented, younger and http://www.kickstarter.com/projects/151313935/2- emerging artists, preferably painters, ranging in rooms-artist-residency-on-bonavista-bay-newfound age from mid-20s to 40. Launched in 1972 by the The Artist Residency is located in the village of Dunta- Brucebo Fine Art Scholarship Foundation of ra, Bonavista Bay, Newfoundland. The location offers Gotland, Sweden, the scholarship covers transpor- professional artists and writers the time to pursue tation expenses (Canada-Gotland Sweden) return, their creative work in a new environment away from a food stipend, plus the free use of a fully-equipped their usual obligations. Each residency runs for three studio cottage at Brucebo on the western shore of to four weeks providing living accommodation and Gotland Island during a three-month summer period, studio space for two artists or writers at one time. A starting June 1. The ‘Bruce’ fine art travel scholar- traditional fisherman’s saltbox house and adjacent ship, also valued at SEK 25.000, offers the winner a outbuilding have been generously donated for this European-based fine art sojourn in the fall or winter/ purpose. Artists and writers connect with the local spring. The scholarships are administered by Concor- community, neighbours and residents, simply by liv- dia University’s Faculty of Fine Art, Associate Dean’s ing in Duntara, and with the larger art community in Office, Montreal, and by Professor Emeritus Kathryn the surrounding area through events, workshops, stu- Lipke ([email protected]), Chair, Brucebo dio visits and recreation. The 2 Rooms Artist Residen- Fine Art Evaluation Committee. For more information cy is an opportunity for meaningful and multi-layered visit www.swedishembassy.ca. Application forms are cultural exchange. available at www.bruceboscholarships.ca Contact: Dr. Jan O. Lundgren The Wallace Stegner House in Eastend, Saskatch- BBF Liaison Officer in Canada ewan offers residencies for artists and writers in a c/o Geography Dept. landscape of peace and solitude. Available year-round McGill University for stays of varying lengths. 805 Sherbrooke Street West www.stegnerhouse.ca Montreal, QC H3A 2K6 The deadline is ongoing for submissions to the [email protected] Resident Artist Program — the Living Arts Cen- Fax: 514-398-7437; Phone: 450-672-6096 tre, Mississauga, Ontario. The Resident Artist Pro- gram has been created to provide opportunities for a Submissions are called for the North West River blend of recent graduates of arts and design institu- Artist-in-Residence Program, a pilot program tions, as well as mid-career artists, to create, explore, which is an initiative of the Labrador Institute and learn and exchange ideas and insights, within a multi- Grenfell Campus Art Gallery/Fine Arts Division, Me- disciplinary environment. There are eight professional morial University of Newfoundland. It is situated in studios in wood, flame-working, glass, sculpture, the Labrador Institute Research Station at North West textiles and fibre arts, photography, painting, drawing River, Labrador. and ceramics. Short- and long-term residencies are The residency is open to artists of all available. For more information about the selection disciplines,including visual arts, film, audio and oth- criteria and the application form, contact: ers. Subject to availability, residencies are from 1 to Cole Swanson, Exhibitions & Residency Co-ordinator 12 weeks in duration beginning Jan. 1 to May 1, 24 CARFAC SASK NEWSLETTER

The Living Arts Centre 4141 Living Arts Drive Mississauga, ON L5B 4B8 Opportunities 905-306-6161 [email protected] The deadline is Jan. 15, 2015 for submissions to www.livingartscentre.ca We’ve Got You Covered – Riddle Fence Cover The Banff Centre for the Arts is dedicated to life- Art Contest sponsored by Leyton Gallery, in New- long learning and professional career development in foundland. Riddle Fence Publishing Inc. is holding the arts. The year-round continuing education facil- its first cover contest, sponsored exclusively by The ity serves as a site and catalyst for creative activity Leyton Gallery of Fine Art with the winning pieces and experience. The Banff Centre offers a variety of published in Riddle Fence #20, Winter 2015. The first place winner’s art will be featured on the front media and visual arts creative residencies. For more and back cover of the journal and they will receive a information contact: one-year subscription (three issues) to Riddle Fence, The Banff Centre for the Arts be featured in an article inside #20, and will receive Office of the Registrar $500. The second place winner’s art will be featured Box 1020, Station 28 on a full-page inside the journal and the third place 107 Tunnel Mountain Drive, Banff, AB T1L 1H5 finalist’s work will be on a half-page. Phone: 403-762-6180 or 1-800-565-9989 Fax: 403-762-6345 Images entered in the contest must be unpublished [email protected] and not submitted to any other publication or con- www.banffcentre.ca test until the close of the contest, Jan. 15, 2015. Contest is open to all artists aged 19 or older. There The Banff Centre offers thematic residencies and is a minimum of two entries and a maximum of five self-directed residencies where the artist is free to entries per participant. Images must be 300dpi and experiment and explore new directions in the produc- at least 2400 x 3000 pixels. Images can be black tion of their work and Banff Artist in Residence and white or colour. Images will be judged blind, so (BAIR) programs. For more information visit: www. include the title of your work, but NOT the artist’s banffcentre.ca name or any revealing data on the image itself. In- clude a cover letter or cover e-mail with your name, Shekinah Retreat Centre is located on the North mailing address, phone number, title, medium, Saskatchewan River on 287 acres of woodlands, dimensions (inches), year, a short biography (three streams and valleys. It also has a facility that can to five sentences), and a short paragraph about the accommodate artist retreats, celebrations and work- work (three to five sentences). A variety of art me- shops. Shekinah is about 50 minutes north of Sas- dia including painting, drawing, print making, sculp- katoon, near Waldheim. Facilities include the Timber ture, photography, installation images, performance Lodge, which was designed to meet a wide variety of and video stills is acceptable. Do not send originals. Work will not be returned. There is an entry fee: $50 conference and retreat needs. Shekinah’s chalet is in Canada; $55 elsewhere. Outside Canada, please fully winterized and is equipped with a roomy, mod- send a money order in Canadian funds for $55CAD. ern kitchen. Contact information: Shekinah Retreat Centre Artists are being asked to e-mail their work to art- Box 490 [email protected] or mail it to: Waldheim S0K 4R0 Riddle Fence, PO Box 7092, 306-945-4929 St. John’s, NL A1E 3Y3 www.shekinahretreatcentre.org [email protected] The Saskatchewan Writers’ Guild (SWG) is looking for submissions of original artwork for the cover Thematic Residency Program on Toronto Islands of Freelance, the member newsletter. Any form offers artists the opportunity to work independently of visual art will be considered; submissions should with the mentorship of a visiting professional artist, be a high resolution jpeg or PDF and sent to Kelsey curator or critic working in international contemporary at [email protected]. Include the title art. Artscape Gibraltar Point is located in a 35,000 sq. “Freelance Artwork Submission” in the subject head- ft. former school building in the unique environment ing, along with your contact information. Only those of Toronto Islands. For more information contact: selected for the cover of Freelance will be contacted. Soi Fischer Thematic Residency Program Payment is $75 for cover art used. For more informa- c/o Artscape Gibraltar Point tion on Freelance, go to: www.skwriter.com/publica- 443 Lakeshore Avenue tions/freelance or contact Kelsey at the e-mail ad- Toronto Islands, ON M5J 2W2 dress above. 416-887-4854 [email protected] www.soifischer.com NOVEMBER/DECEMBER 2014 25

The Saskatchewan Arts Alliance (SAA) wants all yourself, your work and your pricing. The buyer will artists in the province to sign in to the Artist Registry pay for shipping. Submit your images to to help with a research project. The Saskatchewan [email protected]. Arts Alliance wants to understand better how all the arts — including community arts, arts education, fine Scott Nicholson Fine Arts is calling for submis- arts and the creative industries — are interconnected, sions from First Nations fine artists who practice in a if they are part of a continuum. The registry will be variety of two- and three-dimensional media. They kept confidential, for SAA arts research purposes are also calling for submissions from fine artists who only. Register at: practice in the media of sculpture, fibre and quilt- www.artsalliance.sk.ca/?p=artistregistry ing. They will be placed in Scott Nicholson Fine Arts For more information: Directory of Artists, a list of artists that they currently Marnie Gladwell, Executive Director represent. When one of an artist’s works is sold at Saskatchewan Arts Alliance any of their installations or if one of their corporate 1150 - 8th Avenue Suite 101, clients wish to purchase their works the artist will Regina, SK S4R 1C9 receive 70 per cent of the purchase price. If one of Phone: 306-780-9824; Fax: 306-780-9821 their clients lease the artist’s works, they will receive [email protected] 70 per cent of the lease rate. The artist’s Web site will www.artsalliance.sk.ca be added to our Web site so that potential clients may Also on Facebook and Twitter see the works. For further information: Common Weal Community Arts is a Saskatchewan Scott Nicholson Fine Arts based arts organization that has, for over twenty 4130 Albert Street, P.O. Box 37047 years, been linking professional artists with under- Regina S4S 7K3 served or marginalized communities with the intent of 306-501-3808 affecting positive and long-term social change. They [email protected] work with people in poverty, First Nations communi- scottnicholsonfinearts.ca ties, inner city youth, newcomers, people with dis- abilities and seniors who may not have regular access to the arts. If you are an artist or member of an underserved community or community organization and have a project idea or an issue of concern that you feel worthy of exploring through the arts, contact Grants + Foundations Common Weal: 306-551-1650 Saskatchewan Arts Board Grants www.commonweal.ca The purpose of the Indigenous Pathways Initia- The Artailer is an innovative online gallery dedi- tive is to increase access to public funding by Indig- cated to showcasing and selling the work of new enous artists in Saskatchewan, either to develop their and emerging Canadian artists. To submit, please go artistic/cultural practices or to share their art, skills to www.artailer.ca, sign up and complete the short and teachings. application. The application should include an artist Two types of grants are available: bio, artist statement, contact information including • Independent Artists Projects support Indigenous a phone number, and Web site/blog (if applicable). artists to work independently on their own artistic/ You can upload up to 20 images of your different art cultural practice, either in a traditional or contempo- pieces. Please specify the title, size, medium, date, rary art form. price and colour of each piece you submit. This infor- • Community Projects support Indigenous artists mation will help our curators, art lovers and collectors and Traditional Knowledge Keepers/Elders to share to better understand you and your works of art. their art, skills and teachings with their communities For more information, please see the FAQ page on through activities such as workshops, gatherings or www.artailer.ca or contact them directly: mentorships. [email protected] This initiative provides support to young emerging 416-900-4112 Aboriginal artists in the province who are just starting out on a career path in the arts. Online gallery, Bestkind Gallery is looking for Deadlines are Nov. 15, 2014 and April 15, 2015. artists. The deadline is ongoing. They are looking for Maximum grant is $7,500 and minimum grant work in any medium (including digital work) to sell is $500. For more information contact in an online space. Get exposure plus 80 per cent of Leslie-Anne Wilson at the Saskatoon office: the sale of your work. Submit high resolution images 306-964-1165 of your work (preferably while hanging, sculpture on [email protected] a plinth or white backdrop) with information about 26 CARFAC SASK NEWSLETTER

The Creative Partnerships program encourages The deadline is anytime throughout the year and an and stimulates partnership opportunities that con- applicant may not receive more than one travel grant tribute to community development and animation in any 12-month period. The maximum grant is $750 through the arts. There are two funding opportunities for an individual. For more information, visit www. within the program: Explorations and Innovations. artsboard.sk.ca. Explorations grants (Explore and Connect or Ex- plore and Develop) assist communities that wish to explore opportunities for arts and cultural engage- ment in partnership with a professional artist in any Creative Saskatchewan discipline. Innovations grants assist eligible applicants to Investment Fund contract a professional Saskatchewan artist to engage the community in innovative activity in the arts and The Creative Saskatchewan Investment Fund to explore opportunities that increase access to arts grant application process is now open to creative activity. industry projects and endeavours that encompass The Creative Partnerships Program is a joint initiative music, sound recording, film, television, interactive of the Saskatchewan Arts Board and SaskCulture. digital media, visual arts, crafts, publishing and live The deadline is Nov. 15, 2014 for Partnership Ex- performing arts. There are two industry application plorations and May 15, 2015 for Partnership In- intakes: mid-January and mid-October of 2015. novations. Grant applications can be found at www. For more information contact: artsboard.sk.ca and www.saskculture.sk.ca. Contact Erin Dean, Program Officer, the Program Consultant Indigenous and Community [email protected] Arts, Lesley-Anne Wilson www.creativesask.ca 306-964-1165.

The next deadlines for the Saskatchewan Arts SaskCulture Grants Board’s Independent Artists Grant Program are March 15, and Oct. 15, 2015. Independent Artists The deadline is Jan. 31, 2015 for the Multicultural Program grants support the creation, development or Initiatives Fund, for Project Grants. The fund sup- performance of new work in any art form, profession- ports ethno-cultural, multicultural, First Nations and al development for artists and research in the arts. Métis initiatives, projects and activities in the areas of These grants support the ongoing development of ar- cultural identity, intercultural understanding and is- tistic practice in Saskatchewan as well as independent sues of social justice and harmony. Application forms curators and critics in all arts disciplines. are available on the SaskCulture Web site at www. For more information, saskculture.sk.ca. For more information contact: www.artsboard.sk.ca/grants Paul Gingras Regina 306-787-4056 or 1-800-667-7526 306-780-9813, toll-free 1-866-476-6830 Saskatoon 306-964-1155. [email protected].

The deadline is April 15, 2015 for the Aboriginal The Saskatchewan Foundation for the Arts Art- Arts and Culture Leadership Grant that supports ists Awards Program provides financial assistance partnerships between qualified Aboriginal arts and to Saskatchewan artists to create or develop new culture leaders and cultural organizations in the deliv- work or work in progress. Information about the ery of programs that engage individuals, groups and Saskatchewan Foundation for the Arts is available at communities. Qualified Aboriginal arts and culture www.saskartsfoundation.com or leaders are individuals who are acknowledged by the [email protected]. target community and cultural organizations to have The Artists Awards Program is funded by the Sas- the ability to effectively transmit cultural knowledge katchewan Foundation for the Arts and administered and skills to young people as well as to encour- by the Saskatchewan Arts Board. age positive lifestyles, personal growth and cultural The deadline is Oct. 15, 2015 and the maximum awareness. Application forms are available at Sask- award is $2,500. Culture at www.saskculture.sk.ca. If you have any questions, contact: Travel grants assist practising artists and indiduals Damon Badger Heit working in the arts to attend events or to take part in 306-780-9251, or call toll-free 1-866-476-6830 activities occurring out of Saskatchewan that pro- [email protected]. vide for discussion or presentation of their work, that present a unique opportunity to enhance their careers The deadline is Oct. 31, 2015 for applications to or are of benefit to the arts in Saskatchewan. the Métis Cultural Development Fund (MCDF), NOVEMBER/DECEMBER 2014 27

which supports activities that preserve, strengthen and transmit Métis culture and traditions in Saskatch- Other granting opportunities ewan. The activities should encourage gathering, The Elizabeth Greenshields Foundation gives sharing, learning, celebrating and developing Métis awards to artists in the early stages of their careers culture in Métis communities. For more information who work in a representational style. Awards are call Damon Badger-Heit at 306-780-9251 or SaskCul- normally $12,500 and the deadline for submissions is ture toll-free at 1-866-476-6830. For applications and ongoing. For more information contact: guidelines: www.saskculture.sk.ca. Elizabeth Greenshields Foundation 1814 Sherbrooke West, Suite 1 Montreal, QC H3H 1E4 Canada Council for the Arts Grant Phone: 514-937-9225; Fax: 514-937-0141 programs

The Canada Council for the Arts: Calendar of Deadlines is available on the Canada Council for the Membership Arts Web site at www.canadacouncil.ca. The deadlines for the Travel Grants to Profession- New Members Gwen Klypak als in the Visual Arts are: Nov. 1, 2014 and Feb. 1, James S. Korpan April 1, June 1, Sept. 1, 2015. Grace Avery-Parkman Stephanie Krawchuk Michael E. Buehler Lorna Lamothe The deadline is Dec. 1, 2014 for Project Grants for Jenna Faris Linda Leslie visual artists. There are three types of project grants: Sean Huong Bonny Macnab Research/creation, production and career develop- Alexis Kuhanga The Mann Art Gallery ment. Frans Lotz Wendy McLeod The deadline is March 1, 2015 for Assistance to Alex Schmidt Leila Olfert Contemporary Fine Craft Artists and Curators for Hongchen Zhang OSAC both Project Grants and Long-Term Grants. Thelma Pepper Renewal Prairie Artists Guild The deadline is April 1, 2015 for International Gary Robins Residencies Program in Visual Arts. Residencies are The Allen Sapp Gallery Dawna Rose available in New York, Berlin, London and Australia. Madelenine Arkell Laurel Rossnagel Articulate Ink Ward Schell The deadline is Sept. 1, 2015 for Long-Term Chris Banman Jennifer Schell McRorie Grants to Visual Artists: Long-Term Grants provide Louise Barak Bev Schutzman support over a two-year period to Canadian profes- Terry Billings Janice Seline sional artists who have made a significant contribu- Lee Brady The Station Arts Centre tion to contemporary visual arts. Programs of work Bev Caldwell Co-op must be designed to advance the long-term artistic Michael Cavanaugh Waunie Thompson and career development of artists at a key moment in Mary Anne Cherney their career. Heather Cline Artist Distress Jacqueline Colleaux Fund Donations The deadline is Oct. 15, 2015 for applications to Community Iniatives Aboriginal Traditional Visual Art Forms Program Manager, City of Terry Billings for individuals. Saskatoon Michael Cavanaugh Jan Corcoran Denise K. Epp More details about individual grants and how to apply Shona Dietz Karen Hoiness as well as grants for professional independent crit- Donna L. Dynna James S. Korpan ics and curators, and grants for organizations in the Nadine Ens Linda Leslie visual arts are available at www.canadacouncil.ca. Denise K. Epp Waunie Thompson For further information about these and other dead- Jackie Forrie lines contact: Liza Gareau Tosh CARFAC SASK Visual Arts Section The Godfrey Dean Gallery Work Donation The Canada Council for the Arts Merle Harrison 350 Albert Street, P.O. Box 1047 Belinda Harrow Terry Billings Ottawa, ON K1P 5V8 Darlene Hay Michael Cavanaugh 1-800-263-5588 (toll-free) or 613-566-4414, Kevin Hogarth Heather Cline ext. 4686 Karen Hoiness Gary Robins Fax: 613-566-4390 Lana Husulak Waunie Thompson www.canadacouncil.ca Andra Jurzyniec CARFAC SASK Membership Application Form Name: ______Address: ______CARFAC SASK Staff City/town: ______Postal Code: ______Jennifer McRorie: Executive Director Phone: ______Media: ______E-mail: [email protected] Regular Voting: Grant Dutnall: Co-ordinator/Membership Ser- Emerging Artist $35.00 (one year) $ ____ vices, Saskatoon Office, New members only, introductory rate E-mail: [email protected] for first two years only. Wendy Nelson: Co-ordinator/Programs, Regina Professional Artist: Office, $50.00 (one year) $ ____ E-mail: [email protected] $90.00 (two year) $ ____ Professional Artist Couple $70.00 (one year) $ ____ To contact the CARFAC office in Regina: $130.00 (two year) $ ____ Phone: 306-522-9788; Sustaining Member Fax: 306-522-9783 $265.00 (one year) $ ____ 1734 - A Dewdney Avenue, Regina, S4R 1G6 Associate, Non-voting: Individual $50.00 (one year) $ ____ Institutional $80.00 (one year) $ ____ To contact the CARFAC office in Saskatoon: Student $25.00 (one year) $ ____ Phone: 306-933-3206; Out-of province $50.00 (one year) $ ____ Fax: 306-933-2053 I wish to make a donation to: #203, 416-21st Street East, CARFAC SASK work $ ____ Saskatoon S7K 0C2 The Artist Distress Fund $ ____

Total amount enclosed $ ____

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